Greetings fellow The Voice watchers and welcome to the Knockout Rounds! Since many of my East Coast colleagues are busy dealing with the wrath of Hurricane Sandy (stay safe, y’all!), I am “stepping up to the mic,” as it were, and taking over The Voice recapping duties for the time being. Now to be honest, I’ve only seen a few episodes of the show here and there, but anything involving the words “singing battles,” “knockout rounds,” and “Adam Levine” sounds like a good time to me. So let’s get started!
With no more steals to fall back on, the pressure was on in full force for the remaining 40 contestants, especially since only half of them (that’s 20 for you anti-math fans like myself) will be selected for the show’s live playoffs by week’s end. Yikes!
Last night featured Team Adam vs. Team Cee Lo…
Team Adam:
The first two to face off were Joselyn Rivera and Kayla Nevarez. Since both girls have a similar pop star quality sound, Adam wanted to get these two side by side to see which one deserves to advance to the next round. In a bold move, Rivera tackled Beyoncé's “Love on Top” song and managed to hit a wide variety of hard-to-reach notes (well, at least most of them). Nevarez, on the other hand, opted to play things a little safer by giving a cautious rendition of “Shark in the Water” by V V Brown. Though Adam was very pleased with both performances, he preferred Joselyn’s risky approach and advanced her to the next round.
Next up was Joe Kirkland vs. Bryan Keith, who also share a similar sound (I think I’m starting to understand the strategy here). In a surprise choice, Joe belted out “Mean” by Taylor Swift, while Bryan went for the swoon approach with “Everything I Do (I Do It for You)” by Bryan Adams. Joe may have had the risk factor in this one, but Bryan’s spot-on performance proved that he has the talent to make any song (even the romantic, cheesy ones) his very own. So it’s Bryan for the win!
Then came Amanda Brown who sang “Paris (Ooh La La)” by Grace Potter and the Nocturnals vs. Michelle Brooks-Thompson, who performed “Spotlight” by Jennifer Hudson. Talk about two powerhouse voices, these girls have it in spades. Amanda brought sass and vocal firepower, while Michelle showed off some serious artistic range. And while they both seemed to kill it out there (Christina called it a real singer’s battle), Adam decided to go with his gut and keep Amanda. Personally, I agree with the choice. That girl’s singing chops deserve a proper chance in the spotlight.
Next we had Loren Allred sing “You Know I’m No Good” by Amy Winehouse against Nicole Nelson, who chose to perform “If I Ain’t Got You” by Alicia Keys. According to the rehearsal footage, it looked like Nicole was the preferred favorite, however, Loren had a truly stellar performance, making all of the coaches speechless and completely wowed. Adam wanted her to stop sounding like a wedding singer and take on a deeper, darker edge. Well, wish granted! It was a truly incredible breakout moment that left Adam with only one choice: he had to pick Loren. Let’s hope there’s more where that came from. Loren, welcome to the dark side!
Last up for Team Adam, Melanie Martinez took on “Bulletproof” by La Roux, while Sam James performed “Walking in Memphis” by Marc Cohn. Sam’s style was fun, but it lacked the vocal strength necessary to stay in the competition at this point. That being said, I think he is just adorable and I want us to be best friends (seriously, can we make this happen, please?). But regardless, Melanie’s albeit breathy performance was far superior, so it’s no surprise Adam sent her into the playoffs. Now we just need her to get rid of that hair bow.
Team Cee Lo:
First up was Avery Wilson (singing Chris Brown’s “Yeah 3x”) vs. Cody Belew (singing “Jolene” by Dolly Parton). It seemed to be an off night for Avery, who was trying to do a little too much all at once when he really should’ve been focusing on how his voice sounded (thus the name of the show). But instead of giving the guy some leeway, Cee Lo decided to send him packing, sending Cody off to the next round. And just like that, the guy everyone thought would win it all, doesn’t even make it to the playoffs! Oh Cee Lo, you really are one unpredictable fella.
Next up was Mackenzie Bourg vs. Daniel Rosa – who both had very unique song selections. While Mackenzie performed Carly Rae Jepsen’s “Call Me Maybe,” Daniel sang “Back to December,” making this the second Taylor Swift song of the night – both performed by guys (is this a trending thing now?). But unlike Daniel’s rather forgettable rendition, Mackenzie completely changed up the monotonously catchy tune into something that was – dare I say – kinda awesome? I know, you guys. I shouldn’t like it, but I did. By the end, even his opponent was singing along. This dude has my vote! And apparently he has Cee Lo’s too since he sent Mackenzie on to the next round. (Maybe we should lay off the Taylor Swift songs for a while, gentlemen).
Then came Terisa Griffin who went up against Trevin Hunt in a seemingly flawed move on Cee Lo’s part. These are two amazing singers who both deserve to go on to the playoffs, so why pit them against each other so soon? But hey, that’s just one girl’s opinion. Terisa sang the classic Whitney Houston song “Saving All My Love for You,” which was just as emotionally powerful as it was vocally. Seriously, this girl can bring tears to your eyes faster than any Nicholas Sparks book. But then there’s Trevin, who did an equally strong performance with Phil Collins’ hit “Against All Odds (Take a Look at Me Now).” Seriously, why does either of them have to go home? This is like the Sophie’s Choice of singing competitions. But sadly, a decision did have to be made and Cee Lo chose to save (drumroll please)…Trevin!
The next knockout battle was between Mycle Wastman and Nicholas David, who both have very soulful voices. Mycle went with Elton John’s “Don’t Let the Sun Go Down on Me.” It was good and everyone loved it, but then again, that could have more to do with the song than the actual performance. Meanwhile, Nicholas sang a lively rendition of “Put Your Records On” by Corinne Bailey Rae, making this yet another guy opting to sing a girl song (was this an intentional theme for the night?). It was fun, but I wasn’t overly thrilled. Perhaps now that I’ve heard Trevin sing, no other guy can match up. Even the coaches seemed split on what to do. But in the end, Cee Lo made the decision to keep Nicholas.
And last but not least was Caitlin Michele (singing “Bring Me to Life” by Evanescence) vs. Diego Val (singing “Are You Gonna Go My Way” by Lenny Kravitz). The song choices were actually pretty perfect for each of their individual styles. There’s no doubt Caitlin has the stronger vocal talent, but Diego really knows how to liven up a crowd with all that energy of his. None of the coaches seems all that thrilled with either performance (probably because they’re still in shock over Terisa’s unnecessary elimination. I’m not bitter or anything). But regardless, Cee Lo chose to advance Diego into the playoffs.
And look – this means Cee Lo has picked five guys and zero girls to go on to the live shows. I’m not sure if this makes him utterly foolish or a complete genius. We’ll find out soon enough! But in the meantime, what did you think of last night’s eliminations? Sound off in the comments below.
The Voice returns Tuesday for another two-hour Knockout episode starting at 8 p.m. – this time between Team Blake and Team Christina.
Follow Kelly on Twitter @KellyBean0415
[Photo Credit: Tyler Golden/NBC (2)]
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The allure of a jump scare that perfectly-timed loud noise that sends a horror movie audience jumping is hard to ignore. They're easy but effective — if you want to shake people up nothing works as well as a well placed violin screech or slamming door sound effect. Thankfully the new evil ghost movie Sinister mostly avoids the easy way out by developing its lead character a novelist with a drinking problem and exploring an inventive twist on "found footage" (the guy actually finds footage). It all works quite well… that is until it starts relying on jump scares.
True crime writer Ellison Oswalt (Ethan Hawke) hasn't had a hit book in years but he hopes to change his life around by investigating a set of murders committed in the backyard of a suburban home. To immerse himself in the history Ellison moves his entire family into the house where the committed murders took place (and without telling them their new home's little secret). He immediately falls down the rabbit hole discovering a series of Super 8 movies depicting the first killings and a string of other bizarre murders all captured on gritty film. Ellison loses himself to the movies only flinching when his wife Tracey (Juliet Rylance) begs him to come to bed or his son Trevor (Michael Hall D'Addario) wakes up in a fit of terror from an anxiety ailment. But as he watches and rewatches the snuff films Ellison begins to see a connection between them: a shadowy figure who it turns out might be a supernatural entity.
Great horror rides on its lead and Hawke serves Sinister well. He's ambitious and overly confident of his abilities as he digs deeper and deeper into the history of the Super 8 movies. He makes some poor choices — why writers in movies are continually keeping secrets from their families and drinking way more whiskey than their finances would allow is one of Hollywood's great mysteries — but Hawke is adept at making the act of watching someone watch something interesting. His obsession with the mystery his slowly disintegrating mind is reminiscent of Jack Torrence in The Shining.
But before Sinister gets that involved with its central character it strays into run-of-the-mill haunted house territory. Vincent D'Onofrio pops up for a quick expositional Skype chat to inform Ellison that the dark being in his home movies might be a Pagan deity that eats the souls of children. That would explain all those pesky kid ghosts that keep whispering in the ear of Ellison's Ashley (Clare Foley) and making creepy bumps in the night.
Sinister's most terrifying material comes from the grainy "found footage." When director Scott Derrickson moves back and forth between Ellison and the films the writer illuminated only by the flickering projector it's chilling. But the movie progresses away from that into its own conventional horror movie. Weighed down by explanation and meandering action Sinister loses track of its character angle in favor of the almighty jump scare. It's exhausting — but then again as the nickname suggests they never fail to make one jump.
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The thrill of the chase; it’s not just the basis of some weird hunting analogy for modern dating. The chase sequence is an essential component of action movies. More often than not, these chases come to us to the tune of roaring engines and squealing tires.
However, there are the rare instances in which a chase sequence opts for less conventional modes of transportation. Sometimes these chases can venture into the realm of downright silly, but there are the occasions where thrills and suspense can be found in the pursuit of all sorts of bizarre crafts.
BMX Bikes (BMX Bandits)
If the trailers are to be believed, Joseph Gordon-Levitt is going to try and make riding a bicycle look like a death-defying endeavor in Premium Rush this weekend. This is not the first time a movie has tried to make bikes major action set pieces. Australian director Brian Trenchard-Smith tried to capitalize on the BMX craze with his 1983 teens-turned-heroes flick BMX Bandits. The idea was simple; BMX bikes can go where cars and even motorcycles cannot. The result may have been an oddball kids movie, but you have to give the movie credit for ingenuity; bikes going through shopping malls and down waterslides. Also, you have to love the fact that it costars a very young Nicole Kidman.
Hoverboard (Back to the Future Part II)
The second installment of the Back to the Future franchise may not have given us the most accurate portrayal of the future, but it was certainly the one in which we most wanted to live. Sure, there were no iPhones or high-def TVs in the Hill Valley of 2015, but one thing it did have, from which we are still woefully removed as a society, is the hoverboard. One of the most seminal scenes in Back to the Future Part II is the one in which Michael J. Fox is pursued by future bullies while cruising through town on this wheel-free miracle of science. Whether a Pitbull or just the Mattel version, this chase scene makes us desperately want a hoverboard.
Speeder Bikes (Return of the Jedi)
The original Star Wars trilogy, as it takes place in a galaxy far far away, is packed to the rafters with out-of-this-world vehicles. But even with all the tie-fighter and x-wing dogfights, the best vehicular chase in the trilogy has to be the speeder bike sequence in Return of the Jedi. The aptly named bikes achieve breakneck velocity as they go careening through the trees. As exciting and well constructed as this sequence is, one glaring fallacy comes shining through during viewing. What genius in the Galactic Empire’s resource management department thought it would be a good idea to issue lighting-fast, barely-controllable rocket pods to troopers on densely wooded planets? That just seems like a recipe for unnecessary employee turnover.
Gondolas (Moonraker)
James Bond is a name that has set the standard for action in the spy genre of cinema for many years. However, the series did reach a point wherein the action didn’t necessarily have to conform to the highest standards of reason or logic. The pinnacle of this decline in logic is the gondola chase in Moonraker. The idea of crafting a thrill-a-minute action sequence on a boat meant to be slowly paddled through the romantic canals of Venice is goofy enough, but the movie then takes it to the next level of dopey by having that gondola suddenly gain the ability to drive on land. If nothing else, it makes a crow do a double take. So you know… there’s that.
Mine Carts (Indiana Jones and the Temple of Doom)
If hearts being ripped from people’s chests is the most memorable aspect of Indiana Jones and the Temple of Doom, then surely the mine cart chase is a close second. (Unless of course you count yourself an enormous Kate Capshaw fan.) As Indy and his compatriots try to escape from Mola Ram’s child-operated mine, they flee their pursuers in a steel cart on what has to be one of the most elaborately designed tracks this side of an amusement park. The music, the intricate editing, and the classic movie serial spirit make this one of the trademark moments of the entire franchise.
Skydive Chase (Moonraker)
As a special bonus, and in further testament to the outlandishness of Moonraker, we offer this chase from the film’s opening. Jut before the title sequence begins, we see Bond chasing the iconic henchmen Jaws. The only real vehicle to speak of here is gravity, as Bond makes a desperate attempt to steal Jaws’ chute before plummeting to his death. However, the pure mind-melting spectacle of this chase, and its Barnum and Bailey ending, has to be seen in order to be believed. We seriously could have done this whole list with lesser James Bond films.
[Photo Credit: Sony Pictures, 20th Century Fox, Paramount Pictures]
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The trailers for Hope Springs might lead you to believe it's a romantic comedy about a couple trying to jumpstart their sexless marriage but it causes more empathetic cringing than chuckles. Audiences will be drawn to Hope Springs by its stars Meryl Streep Tommy Lee Jones and Steve Carell and Streep's track record of pleasing summer movies like Julie &amp; Julia and Mamma Mia! that offer a respite from the blockbusters flooding theaters. Despite what its marketing might have you believe Hope Springs isn't a rom-com. The film is a disarming mixture of deeply intimate confessions by a married couple in the sanctuary of a therapist's office awkwardly honest attempts by that couple to physically reconnect and incredibly sappy scenes underscored by intrusive music. Boldly addressing female desire especially in older women it's hard not to give the movie extra credit for what writer Vanessa Taylor's script is trying to convey and its rarity in mainstream film. The ebb and flow of intimacy and desire in a long-term relationship is what drives Hope Springs and while there are plenty contrived moments and unresolved issues it is frankly surprising and surprisingly frank. It's a summer release from a major studio with high caliber stars aimed squarely at the generally underserved 50+ audience addressing the even more taboo topic of that audience's sex life.
Streep plays Kay a suburban wife who's deeply unsatisfied emotionally and sexually by her marriage to Arnold. Arnold who is played by Tommy Lee Jones as his craggiest sleeps in a separate bedroom now that their kids have left the nest; he's like a stone cold robot emotionally and physically and Kay tiptoes around trying to make him happy even as he ignores her every gesture. One of the most striking scenes in the movie is at the very beginning when Kay primps and fusses over her modest sleepwear in the hopes of seducing her husband. Streep makes it obvious that this isn't an easy thing for Kay; it takes all her guts to try and wordlessly suggest sex to her husband and when she's shot down it hurts to watch. This isn't a one time disconnect between their libidos; this is an ongoing problem that leaves Kay feeling insecure and undesirable.
After a foray into the self-help section of her bookstore Kay finds a therapist who holds week-long intensive couples' therapy sessions in Good Hope Springs ME and in a seemingly unprecedented moment of decisiveness she books a trip for the couple. Arnold of course is having none of it but he eventually comes along for the ride. That doesn't mean he's up for answering any of Dr. Feld's questions though. To be fair Dr. Feld (Carell) is asking the couple deeply intimate questions so if Arnold is comfortable foisting his amorous wife off with the excuse he had pork for lunch it's not so far-fetched to believe he'd be angry when Feld asks him about his fantasy life or masturbation habits.
Although Arnold gets a pass on some of his issues Kay is forthright about why and how she's dissatisfied. When Dr. Feld asks her if she masturbates she says she doesn't because it makes her too sad. Kay offers similar revelations; she's willing to bare it all to revive her marriage while Arnold thinks the fact that they're married at all means they must be happy. Carell's Dr. Feld is soothing and kind (even a bit bland) but it's always a pleasure to see him play it straight.
It's subversive for a mega-watt star to play a character that talks about how sexually unsatisfied she is and how unsexy she feels with the man she loves most in the world. The added taboo of Kay and Arnold's age adds that much more to the conversation. Kay and Arnold's attempts at intimacy are emotionally raw and hard to watch. Even when things get funny they're mostly awkward funny not ha-ha funny.
The rest of the movie is a little uneven wrapped up tightly and happily by the end. Their time spent soul-searching alone is a little cheesy especially when Kay ends up in a local bar where she gets a little dizzy on white wine while dishing about her problems to the bartender (Elisabeth Shue). Somewhere along the line what probably started out as a character study ended up as a wobbly drama that pushes some boundaries but eventually lets everyone off the emotional hook in favor of a smoothed-over happy ending. Still its disarming moments and performances almost balance it out. Although its target audience might be dismayed to find it's not as light-hearted as it would seem Hope Springs offers up the opportunity for discussion about sexuality and aging at a time when books and films like 50 Shades of Grey and Magic Mike are perking up similar conversations. In the end that's a good thing.

The 84-year-old actor passed away in a nursing home in Wiltshire, England on 24 June (12), but news of his death only emerged on Thursday (05Jul12).
He worked on stage, in film, and on radio but was best known for playing Chief Superintendent Strange on longrunning U.K. series Inspector Morse.
Grout also racked up credits in hit programmes including Yes Minister, Rumpole of the Bailey, and David Copperfield, before performing in a string of theatre roles in London's West End until the 1990s.
He was also nominated for a Tony Award for his part as Harry Chitterlow in Half a Sixpence on Broadway in 1965.

Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
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A kids’ movie without the cheeky jokes for adults is like a big juicy BLT without the B… or the T. Madagascar 3: Europe’s Most Wanted may have a title that sounds like it was made up in a cartoon sequel laboratory but when it comes to serving up laughs just think of the film as a BLT with enough extra bacon to satisfy even the wildest of animals — or even a parent with a gaggle of tots in tow. Yes even with that whole "Afro Circus" nonsense.
It’s not often that we find exhaustively franchised films like the Madagascar set that still work after almost seven years. Despite being spun off into TV shows and Christmas specials in addition to its big screen adventures the series has not only maintained its momentum it has maintained the part we were pleasantly surprised by the first time around: great jokes.
In this third installment of the series – the trilogy-maker if you will – directing duo Eric Darnell and Tom McGrath add Conrad Vernon (director Monsters Vs. Aliens) to the helm as our trusty gang swings back into action. Alex the lion (Ben Stiller) Marty the zebra (Chris Rock) Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stuck in Africa after the hullaballoo of Madagascar 2 and they’ll do anything to get back to their beloved New York. Just a hop skip and a jump away in Monte Carlo the penguins are doing their usual greedy schtick but the zoo animals catch up with them just in time to catch the eye of the sinister animal control stickler Captain Dubois (Frances McDormand). And just like that the practically super human captain is chasing them through Monte Carlo and the rest of Europe in hopes of planting Alex’s perfectly coifed lion head on her wall of prized animals.
Luckily for pint-sized viewers Dubois’ terrifying presence is balanced out by her sheer inhuman strength uncanny guiles and Stretch Armstrong flexibility (ah the wonder of cartoons) as well as Alex’s escape plan: the New Yorkers run away with the European circus. While Dubois’ terrifying Doberman-like presence looms over the entire film a sense of levity (which is a word the kiddies might learn from Stiller’s eloquent lion) comes from the plan for salvation in which the circus animals and the zoo animals band together to revamp the circus and catch the eye of a big-time American agent. Sure the pacing throughout the first act is practically nonexistent running like a stampede through the jungle but by the time we're palling around under the big top the film finds its footing.
The visual splendor of the film (and man is there a champion size serving of it) the magnificent danger and suspense is enhanced to great effect by the addition of 3D technology – and not once is there a gratuitous beverage or desperate Crocodile Dundee knife waved in our faces to prove its worth. The caveat is that the soundtrack employs a certain infectious Katy Perry ditty at the height of the 3D spectacular so parents get ready to hear that on repeat until the leaves turn yellow.
But visual delights and adventurous zoo animals aside Madagascar 3’s real strength is in its script. With the addition of Noah Baumbach (Greenberg The Squid and the Whale) to the screenwriting team the script is infused with a heightened level of almost sarcastic gravitas – a welcome addition to the characteristically adult-friendly reference-heavy humor of the other Madagascar films. To bring the script to life Paramount enlisted three more than able actors: Vitaly the Siberian tiger (Bryan Cranston) Gia the Leopard (Jessica Chastain) and Stefano the Italian Sealion (Martin Short). With all three actors draped in European accents it might take viewers a minute to realize that the cantankerous tiger is one and the same as the man who plays an Albuquerque drug lord on Breaking Bad but that makes it that much sweeter to hear him utter slant-curse words like “Bolshevik” with his usual gusto.
Between the laughs the terror of McDormand’s Captain Dubois and the breathtaking virtual European tour the Zoosters’ accidental vacation is one worth taking. Madagascar 3 is by no means an insta-classic but it’s a perfectly suited for your Summer-at-the-movies oasis.

A decade-long gap between sequels could leave a franchise stale but in the case of Men in Black 3 it's the launch pad for an unexpectedly great blockbuster. The kooky antics of Agent J (Will Smith) and Agent K (Tommy Lee Jones) don't stray far from their 1997 and 2002 adventures but without a bombardment of follow-ups to keep the series in mind the wonderfully weird sensibilities of Men in Black feel fresh Smith's natural charisma once again on full display. Barry Sonnenfeld returns for the threequel another space alien romp with a time travel twist — which turns out to be Pandora's Box for the director's deranged imagination.
As time passed in the real world so did it for the timeline in the world of Men in Black. Picking up ten years after MIB 2 J and K are continuing to protect the Earth from alien threats and enforce the law on those who live incognito. While dealing with their own personal issues — K is at his all-time crabbiest for seemingly no reason — the suited duo encounter an old enemy Boris the Animal (Jemaine Clement) a prickly assassin seeking revenge on K who blew his arm off back in the '60s. Their street fight is more of a warning; Boris' real plan is to head back in time to save his arm and kill off K. He's successful prompting J to take his own leap through the time-space continuum — and team up with a younger K (Josh Brolin) to put an end to Boris plans for world domination.
Men in Black 3 is the Will Smith show. Splitting his time between the brick personalities of Jones and Brolin's K Smith struts his stuff with all the fast-talking comedic style that made him a star in yesteryears. In present day he's still the laid back normal guy in a world of oddities — J raises an eyebrow as new head honcho O (Emma Thompson) delivers a eulogy in a screeching alien tongue but coming up with real world explanations for flying saucer crashes comes a little easier. But back in 1969 he's an even bigger fish out water. Surprisingly director Barry Sonnenfeld and writer Etan Cohen dabble in the inherent issues that would spring up if a black gentlemen decked out in a slick suit paraded around New York in the late '60s. A star of Smith's caliber may stray away from that type of racy humor but the hook of Men in Black 3 is the actor's readiness for anything. He turns J's jokey anachronisms into genuine laughs and doesn't mind letting the special effect artists stretch him into an unrecognizable Twizzler for the movie's epic time jump sequence.
Unlike other summer blockbusters Men in Black 3 is light on the action Sonnenfeld utilizing his effects budget and dazzling creature work (by the legendary Rick Baker) to push the comedy forward. J's fight with an oversized extraterrestrial fish won't keep you on the edge of your seat but his slapstick escape and the marine animal's eventual demise are genuinely amusing. Sonnenfeld carries over the twisted sensibilities he displayed in small screen work like Pushing Daisies favoring bizarre banter and elaborating on the kookiness of the alien underworld than battle scenes. MIB3's chase scene is passable but the movie in its prime when Smith is sparring with Brolin and newcomer Michael Stuhlbarg who steals the show as a being capable of seeing the future. His twitchy character keeps Smith and the audience on their toes.
Men in Black 3 digs up nostalgia I wasn't aware I had. Smith's the golden boy of summer and even with modern ingenuity keeping it fresh — Sonnenfeld uses the mandatory 3D to full and fun effect — there's an element to the film that feels plucked from another era. The movie is economical and slight with plenty of lapses in logic that will provoke head scratching on the walk out of the theater but it's also perfectly executed. After ten years of cinematic neutralizing the folks behind Men in Black haven't forgotten what made the first movie work so well. After al these years Smith continues to make the goofy plot wild spectacle and crazed alien antics look good.
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Grey's Anatomy fans' hearts can start beating again because it's official: The six remaining original stars have all signed on for two more seasons. According to Deadline, Ellen Pompeo, Patrick Dempsey, Sandra Oh, Justin Chambers as well as James Pickens, Jr. and Chandra Wilson will all be returning to the medical drama next fall, keeping the main core of the series in tact. It's a (Mc)Dream come true!
Contract negotiations for these leading stars have been up in the air for almost a year now, causing fans to panic excessively over worry about the fates of their beloved Seattle Grace doctors. In fact, Grey's creator Shonda Rimes even went so far as to leave the eighth season finale open-ended in case some of the cast chose not to return.
Thankfully, it doesn't look like we'll be needing to stitch our hearts back together anytime soon since the rest of the ensemble remains signed on through next year as well. Hopefully this means we won't have to worry about any major deaths come time for the finale. Fingers crossed, anyway.
So get ready for more hardcore surgeries, on-call room hookups, and Miranda Bailey one-liners because this crew is here to stay. Commence the victory dances.
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[Deadline]

Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.
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